This piece is an intact Romano-Egyptian terracotta fish that dates to the Roman Period, circa 30 B.C.-324 A.D. This piece is approximately 7 inches long, by 3.25 inches high, and is a complete and intact example. This piece was made with a dark red-tan clay, and was mold made from two halves. This attractive piece also some thick gray-white deposits, which was also made from it's original white gesso that coated the entire piece. This piece has a curved body that creates movement for the viewer, and there is an open mouth, a small vent hole under the body, and detailed fins. This piece was also likely a votive object that provided sustenance for the departed in the after-life, and this type of piece is also relatively scarce on the market. This piece also likely depicts a Nile perch, which was a popular fish in antiquity. This piece also sits on a custom display stand. Ex: Private German collection, circa 1980's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs import documentation.) I certify that this piece is authentic as to date, culture, and condition:

This intact and interesting piece is a Chancay mother and child textile doll that dates circa 1300-1532 A.D. This appealing piece is approximately 12 inches high, and is made from several types of Chancay textiles made from alpaca wool and cotton. The Chancay culture was centered on the central coast of Peru, and produced some of the finest textiles relative to all of the Andean pre-Columbian cultures. Their blending of textiles with feathers is also readily evident with this piece, as there are colorful dark orange feathers that are woven into the dress of the standing woman. The face of this standing woman is also very likely, and conveys a realistic expression with it's woven nose, eyes, and mouth. This mint quality piece also has several types of textiles that are wrapped and formed around a reed superstructure, and there are extremely detailed woven red feet and hands that resemble a "stick figurine", with extended fingers and toes. There are also individual strands of textiles that represent long hair seen on both the mother and child. The child is seen being carried at the right-hand chest of the woman, and likely represents a woman and her child in the afterlife. The woman's outer dress garment is also very detailed, and has additional textile decorative elements in addition to the attached feathers. The outer garments of this figurine were also custom made, and are not simple wraps of textile scraps, as is usually seen on textile figures of this type. These textile dolls and/or puppets were votive, and promoted family and fertility in the afterlife. One of the best recorded examples, and compete figurines of this type with custom garments are scarce in the market, and are rarely seen in this intact mint condition. (For the type see: "Pre-Columbian Art of South America" by Alan Lapiner, Abrams Pub., New York, 1976, nos. 678 and 679. See attached photo.) A custom Plexiglas case is included that protects this piece from environmental elements and insects such as moths. Ex: Dr. Gunther Marschall collection, Hamburg, Germany, circa 1960's. Ex: Private German collection, circa 1980's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:

This primitive, but esoteric piece is a Chontal culture seated mother goddess that dates circa 300-100 B.C. This piece is approximately 4.9 inches high, by 3.4 inches wide, by 1.9 inches thick. This piece was carved from a single piece of hard green serpentine stone, and is an attractive dark green, with spotty light brown and black colors. This piece has a nice patina with some calcite deposits seen in some of the minute veins that run on the outer surface of this piece, and there is some minute root marking as well. In addition, this piece was polished in antiquity, and has a bright surface. This piece is also intact, with no repair/restoration, and has a small excavation mark on the back side. This piece is a "mother goddess" type, and is seen seated and holding her hands to her breasts. This attractive piece is also likely a fertility type piece, as this "mother goddess" emphasizes her breasts that are full of "mother's milk". This piece also emphasizes the Chontal culture artistic style which shows coffee bean eyes, double-line lips, square nose, and incised lines for the fingers and toes. This piece also shows the head slightly angled to the left, which offers this piece a more animated appearance. The Chontal culture is also contemporary with the Mezcala culture, and the design of the Chontal figurines have more rounded and defined features than the Mexcala culture, which tend to have very angular lines and features. The type of piece seen here is scarce to rare, and is not often seen on the market. This piece can also stand by itself, and simply sits on the included display base. (For the type see: Carlo Gay and Frances Pratt, "Mezcala", Geneva, 1992.) Ex: Private New York collection, circa 1980's. Ex: Howard Rose collection, New York. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:

These two fine designed pieces are two matching Viking bronze bracelets that date, circa 9th-10th century A.D. These two Viking culture pieces are approximately 3 inches long, by 2.6 inches in diameter for one bracelet; and the other bracelet is slightly larger and is approximately 3.1 inches long, by 2.8 inches in diameter. Both of these beautiful examples have matching hand stamped intricate pattern design work, and they were made from a single sheet of bronze, hand stamped, then folded into the form seen today. These pieces still retain some flexibility, and in antiquity, they were able to easily flex for the wearer of these bracelets who was likely a young woman. These pieces have a lovely dark green patina, with some attractive spotty dark blue azurite mineral deposits seen in various outer and inner sections of both bracelets. These pieces both display a hand stamped "triangular symbol", with three dots within, that are designed interlocking and are seen running around the perimeter within a double dotted border. There are also two raised bars that run through the middle, and there is a minute and detailed "interwoven cable pattern" seen between, and this "interwoven cable pattern" is seen again on each side of the bracelets. There are also four raised dots with a dotted border that may solar symbols, and extensive minute dotted line work is seen in various sections of the bracelets. The overall hand stamped design seen on both bracelets is very finely done, and the composition of the design work seen on both bracelets match. Only a skilled artist for the period could have produced the matching hand stamped composition seen on both pieces. Both of these nice examples are 100% original, and are intact, save for the slightly larger example that has two strengthened and repaired stress cracks which is normal for very thin bronze metal pieces such as these. These pieces are scarce with the high degree of workmanship seen on these two beautiful pieces, and fine high quality minute Viking hand stamped work is not often seen on the market. These pieces sit on a custom display stand, and can easily removed. Ex: Private Denmark collection, circa 1990's. (Note: additional documentation is available to the purchaser.) I certify that these pieces are authentic as to date, culture, and condition:

This scarce piece is an extremely large Mayan green jadeite tube that dates circa 600-900 A.D. This solid piece is approximately 8.5 inches long by 1.4 inches in diameter, and has a beautiful dark to light green color. The beautiful stone seen here is likely jadeite, rather than serpentine, as it is extremely dense. This interesting piece has a bow-drilled hole at each end which connect near the center, and the bow-drilled holes are approximately .5 to .6 inches in diameter which also slightly narrow within the tube. There is also a layer of gray calcite deposits seen on the inner surfaces, and a light mineralized patina on the outer surfaces as well. This piece is also not perfectly round, has a somewhat rectangular shape, and has a great deal of eye appeal. There is a very strong possibility that this scarce piece was used in Mayan smoking ceremonies, and/or may have been used in Mayan regalia and served as a decorative item in a headdress, a necklace, or a sacred ceremonial object. This piece is also somewhat heavy, as it is likely a dense green jadeite which was sacred to the Maya. According to Francis Robicsek, in "The Smoking Gods", University of Oklahoma Press, 1978, p. 73, Robicsek elaborates on the forehead tube that was used to identify God K: "Forehead tube thought to represent a cigar. This is a fairly constant trademark of this deity. The identification of God K of any portrait lacking the forehead tube is suspect. It is nearly always present on ceramic representations and on stone carvings, but is usually absent from paintings in the codices. The object may be tubular or funnel-shaped, or it may resemble a celt. Sometimes it is undecorated, but more often it is striated, dotted, or marked with oval symbols. It also varies greatly in size and, if painted, in color. As a rule the tube emerges from the forehead; however, in two paintings, both of them on Peten ceramics, it protrudes from the mouth. On most portrayals the handle of the tube is sunk into the head and it is not visible; on others it emerges at the nape. As discussed earlier, these tubes probably represent cigars, but the possibility that they may represent torches or celts cannot be excluded." In addition, the piece offered here may also have been used by the Maya relative to the relationship of the royal elite to God K, and may have been used by the Maya as noted above in some capacity as a decorative element and/or used relative to the smoking culture of the ancient Maya. This piece also sits on a custom display stand. Ex: Private CA. collection, circa 1980's. Ex: Private Arizona collection. Ex: Private CO. collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:

This attractive piece is a Roman bronze ring that dates circa 1st-2nd century A.D. This complete piece is approximately 1 inch wide, is ring size 6.5, and was made for a young man or woman. This ring has an oval shaped hoop, and this shape provided for a wide face that looks very large when worn on the finger. This piece is very solid and can easily be worn today as well. This piece has sections of original gold gilt seen over the bronze, and this piece has a brilliant translucent orange carnelian stone that is firmly attached to the bronze bezel. The beautiful carnelian stone was never reattached to the ring, and it is firmly in place in it's original setting. The brilliant orange carnelian stone also has a carved image of a seated animal, possibly a dog or a fox. This animal is seen on a ground line, and has raised ears and a long curled tail. The brilliant orange carnelian stone is also highly polished, has an oval shape, a flat bottom, and is clear save for a small black inclusion that is deep within the stone. This piece was also used as a personal seal/signet ring, and makes a sharp impression. The condition of this piece is superb, and is intact with no repair/restoration, and has original gold gilt seen on the inner and outer surfaces of the bronze bezel. Overall, this attractive piece is in better condition than most examples of its type, and is in its natural "as found" condition. Ex: Private New York collection, circa 1980's. Ex: Phoenix Ancient Art, New York and Geneva, Inv. #P33-091-031915. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:

This appealing piece is a Greek terracotta bust that dates circa 4th-3rd century B.C., and is approximately 3 inches high. This large bust is intact, save a small edge chip around the vent hole hole rim seen at the back of the head, and is a terracotta that likely represents a goddess such as Demeter. This goddess is also seen wearing an elaborate and thick diadem, and has a very serene face. Demeter was the mother of Persephone who was responsible for the change of seasons, and the "rebirth" of crops during the year. This piece is in it's natural "as found" condition, and has some spotty earthen and mineral deposits. This piece is a pleasing example for the type, and is mounted on a custom steel and Plexiglas display stand with a total height of approximately 4.7 inches. Ex: Munzen and Medaillen AG, Basel, Switzerland, circa 1960's. Ex: Private German collection, circa 2000's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:

This beautiful and vibrant piece is a Greek Apulian lidded mug that dates circa 330 B.C. This piece has been attributed to the Menzies painter, and is approximately 7.5 inches high with the lid. This beautiful piece is also known as a kothon, and this type of vessel normally has a knobbed lid and extended neck, as seen with the piece offered here. This piece is mint quality, with no repair/restoration, and has very vibrant white, yellow, red, and black colors. This piece has a rounded knobbed handle at the top center of the lid, and there are two female heads seen at the top, along with a detailed acanthus pattern between. These female heads are known as a "lady of fashion" portrait, and is thought by many academics to represent Demeter and/or Persephone. To the Greeks the fertility of the ground was closely associated with death, and the seed-corn was buried in the dark during the summer months before the autumnal sowing. The return of life and burial is symbolized in the myth of Persephone's abduction and return, and gave rise to the ritual of the Eleusinian Mysteries, in which the worshippers believed that the restoration of the goddess to the upper world promised the faithful their own resurrection from death. This lidded vessel also probably held a burial offering such as grain, or a product that could have been used by the deceased in the afterlife. This attractive vessel also has a winged Eros that is seen in motion to the right, and is seen holding a box and a tambourine. There is also an ivy leaf pattern seen on the neck of the vessel, along with additional decorative floral elements seen on the main body of the vessel. Overall, this vessel is highly decorated, with many design patterns that cover the entire main body of the vessel, and as such, has been attributed by A.D. Trendall as Type VIII. This piece also has a single "Herakles-knot" type designed handle, and is an exceptional example for the type. This beautiful piece is also from the Michael Waltz collection, and another slightly smaller lidded mug from this same collection is seen with Royal Athena Galleries, New York, no. GMZ02, $4,750.00 estimate. (Another analogous example of nearly the same size is seen in Christies Antiquities, New York, Dec. 2011, no.138. $3,000.00-$5,000.00 estimates, $5,250.00 realized.) The piece offered here is one of the finest examples offered on the market, and is scarce in this mint condition. Ex: Michael Waltz collection, circa 1970's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:

This detailed and interesting piece is a late Roman/Byzantine bronze bracelet that dates circa 4th-6th century A.D. This piece is approximately 2 inches in diameter, by 1.2 inches high. The opening on the back side is approximately .9 inches wide, and the terminal ends have rounded edges. This beautiful piece is also intact, and has no repair and/or restoration. This piece has six engraved box designs, and within each box is a "stylized floral" pattern that is also a conventional art design for the period. The "stylized floral" patterns are often seen in other art pieces for the period, and were sometimes used to portray the "holy cross" with "four pointed rays". There is one box in the center of the piece that has "four pointed rays", while the others have six to eight. This symbol was used in the same context as the holy "fish" symbol, which was used to signal and mark one's faith. This piece also has a beautiful light to dark green patina, and has some spotty light blue and red highlights. The engraving is very fine and detailed, and is a superb example for the period. This piece does not flex, although the metal is relatively thin, and really should not be worn today. This piece sits on a custom metal stand, and has a great deal of eye appeal. Ex: Private Austrian collection, circa 1980's. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:

This piece is a Greek terracotta applique of a god, and dates to the late Hellenistic Period, circa 1st century B.C.-1st century A.D. This attractive piece is approximately 3.25 inches high, by 2.25 inches wide, and is a complete example that was mounted on the wall of a ceramic or a handle. On the custom Plexiglas display stand, this piece has a total height of approximately 6 inches high. The wall of the ceramic and/or handle is seen on the backside of the piece, and this piece was mold made, and then was subsequently applied to the vessel. This complete piece has no restoration and/or repair, and has some minute earthen deposits. This powerful piece is a nice applique portrait of a god who is likely a young Herakles, as he is seen wearing a lion's skin headdress, has upturned curled hair, and a young face. The portrait may also double for a young Alexander the Great, as there are many representations from antiquity of Alexander that are of this type. Ex: Private Austrian collection, circa 1980's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:

These seven Greek gold button studs date to the Hellenistic Period, circa 4th-3rd century B.C. These pieces are approximately .4 inches in diameter, by .23 inches deep, and together weigh 4.1 gms. These pieces have an identical design and size, and all have a raised "half-moon" type shape. The back half of these pieces all have a raised round "attachment tube", with a hole through each side of the tube, and this design served as an attachment point for each button. These pieces were likely attached to a leather or wood backing that may have been part of a Greek scabbard, sword hilt, breastplate, or shield. These pieces are very decorative, and gave a very impressive look to any of the weapons noted above. Greek gold armor studs are seldom seen on the market, and these seven pieces are scarce to rare examples. These pieces are very finely made, and were produced by an artisan with a great deal of skill. These pieces are all intact, and have a light yellow patina. These complete pieces are all solid, and can easily be worn today in a necklace, a pendant, or women into a garment. Ex: Private German collection, circa 1980's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that these pieces are authentic as to date, culture, and condition:

This attractive ancient Greek coin is a Sikyon silver stater that dates circa 350-330 B.C. This coin is approximately 23 mm wide, weighs 11.8 gms, and is in good very fine/extremely fine condition (VF+/EF). This coin also has a light gray patina, perfect centering, and excellent metal, with some minute roughness seen mostly on the high relief sections of the obverse and reverse. This attractive coin features on the obverse the mythical creature Chimaera, facing left, with the letter "I" seen below the belly of the creature that is seen standing/walking on a ground line. The reverse features a dove flying left, with the letter "N" below the beak; all within a laurel wreath. The Chimaera was a celebrated monster who sprung from the union of Echidna and Typhon, and had three heads; those of a lion, a goat, and a dragon. The Greek hero Bellerophon with the support of Minerva, and the aid of the winged horse Pegasus, attacked and killed the Chimaera in an epic battle. The image of Chimaera, seen on the obverse of this coin, has a goat neck and head rising from it's back, and the head and body of a lion. The city of Sikyon chose this creature as a civic symbol, and is one of the few known images of this creature seen on ancient Greek coinage. This coin type is also highly desirable among collectors of ancient Greek coinage who collect coins that illustrate creatures known from ancient Greek myth. References: BMC 57. SNG Copenhagen 48. Ex: Harlan J. Berk collection, circa 1980's. I certify that this coin is authentic as to date, culture, and condition:

This exquisite Greek Attic blackware mug is in flawless condition and has a deep black lustrous glaze. This pieces dates circa 5th-4th century BC and is approximately 4.4 inches high by 3.5 inches in diameter at the rim. This piece has attractive minute white calcium deposits and root marking, and the outer and inner surfaces of this piece are exceptional. The deep black lustrous glaze, in combination with the other surface factors noted above, give this piece a high degree of eye appeal. The mint condition of this piece points to the fact that it may also have been solely a votive piece, and was never used in real life. This piece has a black circle/dot pattern symbol, which is seen centered on the base at the bottom. This symbol is a mark for an Athenian ceramic shop, and the esoteric curved shape of the body displays great skill in the potters hand. Ex: Gunter Puhze collection, Germany. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:

This scarce piece is a Colima water carrier figurine that dates to the Proto-classic Period, circa 100 B.C.-250 A.D., and is approximately 13.25 inches high. This piece is intact with no repair and/or restoration, and has a nice even deep red glaze over the entire outer surface, save the bottoms of the flat feet. This piece also stands solidly by itself, and the water carrier seen here has a large jar on his back that has detailed ropes and fittings which are not normally seen on scarce pieces of this type. This water carrier also has his hands behind his head in order to steady his heavy load, and he also has a serene expression which runs counter to one that has a heavy load on his back. This piece also has some spotty black mineral deposits, and the surfaces show little wear. An exceptional example seldom seen on the market. Ex: Sotheby's pre-Columbian Art, New York, Nov. 2006, no. 387. ($5,000.00-$7,000.00 estimates, $9,000.00 realized.) Ex: Private Kansas collection, circa 2000's. Published: Featured in the ATADA Online Show, Aug. 9-19 2018 (www.atada.org/online-show). I certify that this piece is authentic as to date, culture, and condition:

This complete piece is made of 22 tubular jade beads, along with a jade "Celt-God" pendant, which is also known as an "Ax-God" pendant. The beads strung together are approximately 22 inches long, and the "Celt-God" pendant is approximately 4 inches high by 1 inches wide near the base. This piece dates circa 200-500 A.D., and it was produced in northern Costa Rica, in an area known as the Atlantic Watershed region. The beads and pendant were "bow-drilled", with a hole created from drilling at each end. The beads are also a combination of different types of jade and jade-type stones, with some darker in color than others. The pendant shows "line-cut" design and is likely an anthropomorphic human image. One can see design "line-cut" work that looks like an open mouth and head at the top of the pendant. The back side is flat, and the "line-cut" design is seen on the concave front side. There is also minute mineral deposits and root marking seen on the pendant and most of the beads, and most, if not all of the beads appear to be ancient, and have mineral deposits and patina. These pendants had magical properties, and were worn as personal adornments which also conveyed that status and rank of the owner. The "Celt-God" pendant type was first developed by the Olmec circa 1200-1000 B.C., and this type of object was also votive. This type of object is also found in many pre-Columbian cultures in Mexico and Guatemala. This type of jade object is also explained in detail by Frederick Lange in "Pre-Columbian Jade", University of Utah Press, 1993. This piece can also be worn as is, and can also be displayed in the included custom display box. Ex: Private German collection, circa 1990's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:

This attractive Greek terracotta dates to the 4th century B.C., and is approximately 3.75 inches high. This large bust is intact to just below the jaw line where it is broken at the neck, and is a bust of a goddess such as Demeter. This esoteric bust has exceptional artistic style, as the portriat is of a more mature goddess with a vibrant face with a slight smile. She is also seen wearing a diadem with perhaps agricultural stalks that are seen within the diadem. Demeter was the mother of Persephone who was responsible for the change of the seasons, and the "rebirth" of crops during the year. This attractive large bust is also in it's natural "as found" condition, and has some minor earthen and mineral deposits. An exceptional example with an intact face and a high degree of eye appeal. This piece is also mounted on a custom steel and Plexiglas display stand with a total height of approximately 5.3 inches. Ex: Munzen and Medaillen AG Basel, Switzerland, circa 1960's. Ex: Private German collection, circa 2000's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:

This scarce piece is a bronze ring that is from the Luristan culture that dwelled in Western Iran, circa 1000-800 B.C., Iron Age II. This object was cast as one solid piece, is approximately 4.9 inches in diameter, and is very heavy, as it is approximately .5 inches thick. This beautiful piece is in superb condition and has an exceptional dark green patina with light brown and reddish highlights. This massive adornment was worn above the bicep on the upper arm, and was considered to be a very valuable object by this culture. This piece was likely clamped on the upper arm of a warrior individual who wore this piece for life, and this piece has a high degree of smooth wear on the inner surfaces, which is a good indication that the owner wore this piece for a considerable length of time. The Luristan culture was a tribal society of mixed small-scale agriculturalists and pastoralists, raising sheep and goats, many horses, and perhaps using chariots where the terrain permitted. The wealth of this culture was concentrated in the hands of a warrior aristocracy who patronized the metal smiths, and they considered bronze very valuable, as it could be fashioned over and over again into weapons. This culture was highly skilled in the arts of war, and perhaps only the Spartans could have been as skilled in the use of their weapons. This piece has attractive decorative chevrons and checker-band patterns that were engraved into the metal. These designs are also seen on the ceramics for the period. (For other bronze armlets of this type see: "Ancient Bronzes, Ceramics, and Seals" by P.R.S. Moorey, Los Angeles County Museum of Art Pub., 1981, nos. 611-613.) A custom stand is included. Ex: Private German collection, circa 1990's. (Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:

This scarce piece is a Greek core-formed glass alabastron, and dates circa mid 4th-3rd century B.C. This attractive piece is approximately 4.75 inches high, by 1.25 inches wide from handle to handle. This piece is a brilliant cobalt dark blue glass that has added dark yellow trailing glass, and this dark yellow trailing glass is seen as decorative patterns that were applied on the main body of the vessel. These "zig-zag" and "linear" yellow glass patterns were added to the vessel as it was spinning on a heated rod. This piece also has a short neck, a rounded disk at the lip of the vessel, and two small lug handles seen below the shoulder of the vessel. Glass alabastra of this type were containers for perfumed oils, and their flat rounded rims allowed their precious contents to be dispensed easily in small quantities. As the name suggests, these vessels in glass are probably modeled after those made in alabaster. The exceptional piece offered here is in superb to mint quality condition, and is intact with no repair and/or restoration. This piece also has some spotty light to dark white calcite deposits, and these form a thin layer in sections of the vessel. There is also some small minute rounded spalls and cracking with mineralization within, which is normal for authentic vessels of this type. Overall, a superb to mint conditioned piece that has a patina and brilliant color that is much better than what is normally seen. (This piece is also classified as: Grose Class II:B; Harden Form 10, Alabastron Form II:4, and is analogous to the examples seen in: "The Toledo Museum of Art, Early Ancient Glass", by Frederick Grose, Hudson Hills Pub., 1989, nos. 132-133.) A custom Plexiglas display stand is included. Ex: Rafi Brown collection, Los Angeles, CA., circa 1980's. Ex: Superior Galleries: "The International Diamond Corporation auction", Los Angeles, CA., June 1986. Ex: Superior Galleries auction, Los Angeles, CA., June 8, 1993, no. 135. Ex: Private CA. collection. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition: